Mackie 1604VLZ4 16-Channel 4-Bus Compact Analog Mixer with Onyx Mic Preamps
The Mackie 1604VLZ4 is a 16-channel, 4-bus compact analog mixer aimed at live sound, broadcast and recording. Every mic input runs through a discrete Onyx preamp, and the 4-bus architecture means you can build proper subgroups instead of mixing everything straight to the main pair.
- 16 Onyx mic preamps: ultra-wide 60dB gain range, 128.5 dB dynamic range and distortion under 0.0007% from 20Hz to 50kHz.
- Channel strip: 3-band EQ with sweepable midrange, an 18 dB/oct 75Hz low-cut filter on the mic channels, plus level, pan, solo and overload/mute LEDs.
- Routing: 4 aux sends, 4 stereo returns, 8 direct outs and 4 group/bus outputs.
- Line and insert I/O: 16 high-headroom line inputs with +4/-10 operation and 16 balanced inserts for patching in outboard gear.
- Faders and metering: 60mm long-wearing log-taper faders and high-resolution 12-segment stereo meters.
- Monitoring: control room and phones multi-input source matrix.
- Build: Built-Like-A-Tank steel chassis with powder-coat finish, sealed rotary controls that resist dust and grime, and high-contrast markings for at-a-glance reading.
- Mounting and power: rack-mountable using the optional rack ear kit, three physical configurations via the Rotopod accessory (sold separately), and a multi-voltage supply for worldwide use.
The 1604VLZ4 is the full-size member of the VLZ4 family, and the extra size buys you two things the smaller boards cannot offer: sixteen microphone channels rather than a handful, and a genuine 4-bus output section. That combination is why it keeps turning up in broadcast racks, home and professional studios, utility mixing setups and complex synth rigs.
Sixteen Onyx preamps, not a mixed bag
All 16 mic inputs use the same discrete Onyx preamp design with a 60dB gain range, so a quiet ribbon on channel 14 gets exactly the same treatment as the kick mic on channel 1. Published figures are 128.5 dB of dynamic range, +22 dBu line input handling and distortion under 0.0007% across 20Hz to 50kHz. Phantom power is on hand for condenser mics, and the improved RF rejection is a real consideration if you are working near transmitters in a broadcast environment.
Shaping and routing
- 3-band EQ with a sweepable midrange, so you can hunt down a resonance rather than guess at a fixed frequency.
- 18 dB/oct 75Hz low-cut filter on the mic channels to clear stage rumble and handling noise.
- 4 aux sends for monitor wedges and effects, with 4 stereo returns coming back in.
- 4 group and bus outputs plus 8 direct outs for feeding a recorder or interface.
- 16 balanced inserts for compressors and gates on individual channels.
- Control room and phones source matrix for solo checking and cue feeds.
Built for the road and the rack
The chassis is rugged powder-coated steel, the rotary controls are sealed against dust and grime, and the 60mm faders use a long-wearing log taper. Metering is a 12-segment stereo pair, which is enough resolution to set gain structure properly rather than just watching for red. If you need it in a rack, an optional rack ear kit handles that, and the Rotopod accessory (sold separately) gives three physical configurations for desk, rack or angled use. The multi-voltage power supply means it travels without fuss.